As an educator it is always delightful to sit back and absorb the ideas and knowledge of others. A few weeks ago I had the pleasure of attending the Textile and Place Conference co organised by Manchester School of Art and the Whitworth Gallery. It proved to be two days of textile nourishment spending time with other textile types.
Join OCA tutor Priscilla Edwards on the 2 June at the Fashion and Textile Museum in London.
What makes this particular student’s yarns so exciting is that she has clearly been inspired and demonstrates so well that she has been stimulated by her source material. Whether this is her secondary research in the form of a medieval artwork or her primary research in the colour studies of glass vessels, there are clear links and reference points between her work and its creative source.
Join OCA textiles tutor Priscilla Edwards at Manchester Art Gallery on the 5 May.
In this blog post I will be drawing to your attention and discussing the work of Textiles 3: Advanced student Jill Hodgkins. Jill has recently completed this unit and as part of the course she exhibited her work in a local gallery.
The basic aim is that your work looks coherent and that the assessors can effortlessly navigate it. It may take you a couple of assessment events to get this right but as you progress through the degree programme, repeatedly sending work for assessment you will develop and perfect ways of organising your work.
Investigative and experimental sampling requires both an open-mind and a focussed approach to ensure the work created is coherent, exciting and new.
Join OCA tutor Priscilla Jones on the 3 and 4 March in London. On Saturday we will visit Embellishment in Fashion at the Royal School of Needlework and on Sunday we will take in the Spring Knitting and Stitching Show at the Olympia.
This simple presentation meant the samples were easy for assessors to go through; the logic of the development was clear and any collections of samples were grouped together, either on one sheet or on a series of sheets.
Art students often label themselves according to the name of the course that they are studying; They become a ‘fine artist’, ‘photographer’ or ‘textile designer’. That’s okay but we are all adaptable creative thinkers and labels can be restrictive. I encourage students to look at other disciplines to inspire their own; to mix craft skill with wild ideas and to challenge processes by applying mindsets from other creative genres.
Many Artists and designers use more unconventional techniques and unusual methods, usually from other fields to create their collections. Sometimes using materials or processes that are technology/science led bring very interesting outcomes and new ways of working that can open new doors for the future of Arts and Design.
I usually start working with paper as a medium for drawing and painting, to create collages, folding it to make 3D models… We may live in a digital world, but for creatives using paper has by no means diminished. Folded into origami and kirigami, laser-cut, layered and made into sculptures, artists can transform a humble sheet of old tree into a spectacular artwork.